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Most of these artists engaged in paintings of beautiful women a character that we see with works from Sharaku and Katagawa. However, landscapes had been given limited attention by most of thee artists hence the reason for Hokusai’s diversion. Most of the critics of Hokusai’s works defined his landscape paintings as the Western paintings since they differed from Japanese paintings in terms of imagination, composition, atmosphere and the natural observation. A good piece of art showing an assumption of Tsunami off the coast of Japan is an ancient art done by Katsushika Hokusai (Nagata and Bester 28). This piece of art was done between 1760-1849. However, many people argue that this piece of art is not a Tsunami but depicts other things. This geometrical piece of art employs the use of circles, lines, and triangles in an artistic manner, which creates a sense of space collapsing. From the picture, there is an indication that the boatmen are not fighting against the huge wave but rather using the flow of the wave for their movement. Most of the artist believes that this picture was created as a symbol of his death since this is just one of the pieces of arts Hokusai produced just before his death. The painting is a traditional Japanese piece of art especially by the Japanese writings that are embedded in it. We also find this feature in the other two paintings indicating that these are traditional ukiyo-e paintings. The piece of art also symbolizes Japanese tradition. Hokusai shows symbols of tradition in this piece of art. Mount Fiji is shown from a background and this time is not shown as a huge mountain but just a small one shifting the focus of everyone’s perception. The picture also indicates Japanese anglers in boats struggling with the sea wave. In addition to this, a sense of energy has been created in this picture. Three quarters of the film is the huge sea wave, which consumes the great mount Fiji. This shows that Hokusai wanted to express energy in his composition. The technique used in painting of this picture is from the printing of woodblocks a technique that was mostly used by Buddhists in the 17th century. Otanaji Oniji II is a 1794-95 piece of art, which was developed by Toshusai Sharaku. In this piece of art, Sharaku’s great composition depicts a sense of energy, which is displaying realism and beauty. We can compare the theme of energy in relation to Hokusai’s picture in which the sea consumes three quarters of the space. From Sharaku’s picture, we can see that the artist has employed the use of lines triangles, and circles the same way in which Hokusai developed in The Great wave off Kanagawa. However, Sharaku in this piece of art is more real and articulate (Narazaki 79). The face of the picture takes three quarters of the space emphasizing the key area he wanted to expose. When comparing the themes of these two pictures we notice that Sharaku’s picture illustrates a huge sense of modernity. The person in the picture is beautiful and with lots of energy shown in the face while Hokusai’s picture indicates a deep sense of tradition from the boats and the physical background. In comparison, all these piece of arts were done in the 17th century a time when most of the artists used woodblocks as their main tool for production of their pieces of art. Sharaku also shows a sense of tradition in this portrait. The clothing of the person in the p ...Show more
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Summary

Comparison and Contrast of 3 Ukiyo-e images by Ukiyo-e artists, Utamaro, Hokusai and Sharaku. Most artists embraced the fame of ukiyo-e as it was a symbol and a reflection of the lower class people in the society. For this reason, most the artists used this technique to express their feelings within the society…
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